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Media Measurement

Consumers have more media content, channels and more choice of devices than ever before.

Advertisers, media owners and media buyers need to identify which digital and traditional channels are most successful at attracting the right audiences.

Our audience measurement solution is the trading currency for television (e.g. TV ratings), print, radio, out-of-home, online and mobile media. We track which consumers are using what channel, how they are engaging with content across each medium and what is driving their behavior.

With this detailed view of consumers’ content appreciation our clients not only get ratings of what people are watching or listening to – they also know why. Our cross-media measurement shows what devices your audiences are using for each channel and type of content, and we evaluate your marketing efficiency and performance across the whole spectrum of channels.

We help you optimize your channel selection and content to deliver increased audience engagement, end-to-end.

Read more about Media Measurement

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Success Stories
  • Connecting the dots between digital and traditional media

    Connecting the dots between digital and traditional media

    15.03.2016

    We investigated the role of social media chatter in generating awareness and readership of Vanity Fair’s Caitlyn Jenner issue.

    Vanity Fair is an influential and iconic magazine published by Condé Nast.

    Situation

    Most media planners crave insight and data about how digital and traditional media can work together. The much talked about issue with Caitlyn Jenner on the cover offered us a perfect opportunity to explore this topic. We wanted to investigate what impact, if any, the social media buzz can have on the readership of the July issue in its traditional printed format.

    Approach

    Over a nine-week period, we surveyed 1,798 adults online who said they had read the July issue of Vanity Fair.

    Outcome

    • Four in ten adults who read the magazine first heard about the Jenner cover on social media
    • 40% of adults (ages 18+) who read the July issue had not read Vanity Fair in the previous 12 months
    • Nearly half (47%) of those readers were aged 18 and 34, indicating that the coveted millennials do read print magazines, contrary to the conventional wisdom
    • The big challenge for publishers is generating awareness among these younger readers – and it looks like social media can help with this

    Click here to download the success story

  • Optimizing TV content for a demanding audience

    Optimizing TV content for a demanding audience

    31.01.2016

    Our research helped this TV network shape its new television show featuring a Brazilian icon.

    Situation

    A broadcaster needed information about how viewers would respond to a popular entertainer’s return to the airwaves after a short absence. After the launch of the program, the company wanted to track the audience’s response to its format and content.

    Approach

    We explored social media conversations to determine which elements viewers might value in the show, and how these aligned with the host and the network. A subsequent quantitative study gauged the target audience’s intention of watching the program.

    After the launch, we tracked viewers’ behavior and opinions by integrating social media insights with audience data from the broadcaster and data from our online panel.

    Outcome

    We found that Brazilians were receptive to a new show because television program options during the evening time slot were limited.

    After the launch, we tracked user-generated content on social networks to see what elements of the show were resonating with the audience. This information helped producers strengthen the show’s content.

    Our advice also helped the commercial team to target sponsors with brands that would be a good match for the profile of the program and its audience.

    Click here to download our success story (short version)

    Click here to download our success story (long version)

     

     

Latest insights

Here you can find the latest insights for Media Measurement. View all insights

    • 02/03/16
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Mobile and Location Insights
    • Canada
    • English

    Smartphone Users Spend as Much Time on Entertainment as Texting – GfK MRI Study

    According to new GfK MRI research, today’s smartphone user is just as likely to be seeking mindless entertainment – playing a game or streaming a video – as connecting with friends and family through texting or other modes. 

    • 01/21/16
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Canada
    • English

    Is it a Netflix world after all?

    Netflix’s recent announcement of their international expansion in 2016 is not unexpected, but still somewhat breathtaking in its scope. While it may seem natural to those in the United States, where Netflix holds a dominant position in the Subscription Video on Demand (SVOD) space and in other early markets where it is a well-known brand, but this latest overseas growth is not as much “a sure thing” elsewhere.

    Eight key concerns for entering developing markets

    Certainly Netflix will enter these new markets with a well-known brand name, which may be less connected to its actual content than to the fact that US-originating digital brands often have a leg-up on local brands. Netflix will generally appeal to affluent, Western-oriented consumers outside of the North American and Western European markets. But Netflix will have a number of concerns when entering these other developing markets that make up much of the dozens being added. These include:
    • Local competitors in the Pay TV or streaming space may themselves have a dominant position. GfK works with a number of providers in the markets in which Netflix has newly launched to understand how their services are consumed. We often see a large cohort of subscribers actively viewing the kind of on-demand content that Netflix dominates in the US. These are consumers who are well served by streaming or on-demand content. For example, local South East Asian player iFlix has already built up an impressive half million subscribers in a short space of time.
    • The streaming rights to local content of interest may be held exclusively by other services.
    • The streaming rights to even Netflix’ own content may still be controlled by other providers, based on older agreements.
    • Netflix’ original, exclusive Western-focused content may not have an appeal in different cultures. Again, GfK’s work in providing Return Path Data (RPD) services have taught us that local content is absolutely crucial in building a strong customer base – even in markets where the kind of Western-oriented programming in which Netflix concentrates is popular. Netflix itself recognizes this by focusing much of its strategy on creating local content for its various markets.
    • There may be local laws regarding a certain level of locally originating content.
    • Internet access in certain countries may be limited across the population or intermittent.
    • The governments or entities controlling Internet access may arbitrarily cut access based on disagreement with content, or may use such power to censor or control what content is offered.
    • In many markets, particularly in APAC, advertiser-supported or illegal websites are often well established as sources for watching video content. So there may be resistance to paying for content that consumers have traditionally accessed by other ‘free’ means.

    Netflix’s big data advantage

    That being said, Netflix has consistently outperformed expectations of industry experts and those in the financial markets. Its daring moves in the past have mostly panned out. And, aside from content, it has an understanding of its consumers – through the use of its own collected big data – with which few of its potential competitors can hope to compare. As for its competitors, frenemies, and partners – some being all three – the growth of Netflix raises questions that only third-party accounting of Netflix can answer. This way their competition or partnership with Netflix is on a more level playing field. What do you think about Netflix’s expansion? Do you see other challenges? I would like to hear your opinion as well.
    For more information, please contact me at david.tice@gfk.com.
    • 02/10/17
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    ‘The Grand Tour’ drives into pole position for Amazon

    The Grand Tour – Amazon’s biggest visual production to date – was released on 18 November 2016. Essentially, for all those who aren’t aware of what The Grand Tour is, the show is an updated version of BBC’s Top Gear, hosted by the three presenters who really (whether you like them or not) made the show what it is today: Jeremy Clarkson, Richard Hammond and James May. Talk about the release and production of this new Amazon Original series has been circulating over the last 18 months, with Jeremy Clarkson even popping up in  Amazon’s advertising to help promote products like the Amazon Fire stick, but also to help keep awareness of the new show alive.

    Reception upon release

    Once the show was released, there were mixed reviews from all corners of the media, with some claiming that the show had exceeded expectations, whilst others felt it was offensive and off-key. Away from the newspaper columns and online comment sections though, our UK SVOD data allows us to understand a bit more about how the show actually performed against other titles on Amazon (they keep this data very close to their chest), and what viewers actually thought about the show. Firstly, even though it was only launched halfway through the month, The Grand Tour (TGT) became the most streamed show on Amazon in November 2016, accounting for 8% of all the streams watched in that month. In the following month, the show was still the most streamed title, and increased its share of streams to 17%, a clear winner and ahead of the second placed title, The Man in the High Castle which attracted 9% of all streams viewed. However, what is perhaps more interesting is that in December, 45% of all active Amazon users watched at least one episode of the program (we define an ‘active user’ as someone who has watched something in the last week). This is the highest proportion of unique viewers that we’ve ever recorded, not just for Amazon, but also across all platforms captured by our tracker in the UK (which includes Netflix and NowTV). This suggests that two things might be happening: existing subscribers are all intrigued by the show and/or lots of new people have signed up especially to watch the program.

    Exclusive original content made by the provider

    One key reason behind Amazon’s investment, was of course, not just to attract publicity and views, but to encourage sign up amongst a different target audience to those already signed up. In December 2016, the top reason for sign up to Amazon Prime was ‘to watch original series made by the provider’ (this excludes those signing up for free shipping and because of a free trial).  The next most popular reason for sign up was ‘to watch exclusive content not available elsewhere’. To underpin the appeal of TGT, over half of those who said that they signed up to Amazon in order to watch a particular show said it was TGT that they wanted to watch, definite signs that TGT was doing the job it was commissioned for. This I believe can be fairly linked with the launch and increased marketing of The Grand Tour (awareness for TGT was high, with 84% of all Amazon users in December having heard of the show).

    Rating the show’s content

    When asked why they started watching this new series, the majority of viewers (68%) said that they are/previously had been fans of the BBC’s version of the show. Furthermore, just over half (52%) also stated that they are fans of the presenting trio (Clarkson, Hammond and May), indicating that many of The Grand Tour’s viewers have migrated from the BBC to Amazon (and more technically, from Linear TV to SVOD). In terms of the program quality, the main question most people are asking is, “is TGT better than the original?’. Amongst those that watched the show, 55% felt that The Grand Tour was ‘much/slightly better’ than the BBC’s Top Gear show with the same presenters, and 45% of viewers also thought that the show exceeded their original expectations. This is backed up with the show’s content rating. When asked to rate the show using a 10 point scale, TGT scores a content rating of 8.6, higher than most other big Amazon Originals such as The Man in the High Castle (8.3), Transparent (8.2) and Bosch (8.5). The show also scores a lot higher when compared to the average content rating for any show watched on Amazon, which currently stands at 7.9, proving that the high production cost may be paying off (as it happens, the viewers of the show also agree that Amazon’s investment has been worth it, with less than 1/6 of viewers saying that they were disappointed with the show, or that Amazon have wasted their money in making it).

    Conclusion

    With Amazon finding success from their investment into TGT, it should be expected that they will continue to spend to produce exclusive content not available elsewhere to bolster users of the service. It is also highly likely that the 2nd season of TGT will be backed by an even bigger marketing budget, given the success the show had in reaching such a wide range of Amazon users, and that all those who watched the show generally thought it was great. The interesting thing will be how Amazon and The Grand Tour production team decide to follow up with season 2. Will they stick to the tried and tested formula (which seems to be working), or will they try even more adventurous journeys and stunts? At the end of the day, given that most people are watching the show because they like cars and the presenters (Clarkson, Hammond and May), Amazon will undoubtedly follow up with a 2nd season that is equally as successful, so long as they keep those two critical elements at the very core of the show, and continue to build excitement by using the iconic trio in the company’s wider marketing campaign in the run up to release.

    See the top reasons viewers started watching The Grand Tour

    Download our free infographic
    • 02/10/17
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    Amazon’s ‘The Grand Tour’ drives into pole position for its online video streaming service

    Amazon’s biggest visual production to date, The Grand Tour, shows clear appeal among UK SVOD viewers. GfK’s established SVOD content tracking and analysis finds that the show swept the board versus other titles viewed on Amazon. It was the most viewed title in both November and December 2016, attracting the biggest audience reach for an Amazon show in the UK since GfK’s tracking service began in 2015.
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